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Messages logging:
You can ask l2drop to log all messages in a text readable format
to activate message logging add the -l switch on the command line.
Thus you’ll have to run: l2drop -l
If you do this, It will generate a file named L2WH_Messages.txt that contains all messages logged .

You also can specify a logging pattern with the -p switch
if you do so, only messages that contain the pattern will be logged
thus : l2drop -l -p wts will only log messages that contain the string WTS (pattern is not case sensitive) .

You can also filter on channel basis, with the -c switch.
The format is a list of channel separated by a comma.
The channels are defined as follow:

RF Online is an epic mix of traditional fantasy MMORPG mixed with unique futuristic sci-fi action to bring an entirely new and original take on the existing MMORPG genre. Set in a deep space galaxy known as Novus, take your pick from three all-powerful warring factions leading your character into the final battle for total control over the entire Novus galaxy. Chose from either the Bellato Union, taking control of individual robot battle units like never seen before within any MMOG, Holy Alliance Cora, the mystical and fantasy orientated race utilising the power of magic and finally the mighty Accretia Empire, a futuristic alien race intent on spreading destruction across the entire sector with their advanced weaponry systems.

Penny Martin, Editor, SHOWstudio: Kate Moss, we have invited you to participate in our series of interviews with major image-makers because you occupy the roles of both image and image-maker. Not only are you one of the most talked-about and desired women on earth, you rose to fame during a decade where fashion became a mainstream cultural concern. You are the face of a British youth movement shaped by the end of Thatcherism, dance culture and new technology. Does any of that make you happy?

Kate Moss: Yes, it definitely makes me happy that I’m part of a period of such cultural change. However, I don’t think about me being a desired woman, or as being talked about, because that would make me paranoid.

Phil Bicker, New York: Before modelling, did you have any idea of what you’d like to do?

Kate Moss: I knew I wanted to travel, because my Dad worked in the travel business and I knew I wanted to leave Croydon. I hadn’t even thought about what I wanted to do when I left school because I was only 14 when I started modelling.

Charlotte Cotton, Victoria & Albert Museum, London: What did it feel like to see yourself on the cover of The Face in July 1990?

Kate Moss: I was really embarrassed because there were pictures of me topless inside. I was still at school of course, so I got a lot of stick because I was so flat-chested.

Elaine, New York: How much of your success would you attribute to your management? At what stage did you start to make your own decisions rather than following instructions?

Kate Moss: Quite early. When I started working a lot, at one point I was doing about 10 flights in a week and I had to start saying no to things. Of course, your management push to get you work and you want them to think about the long-term, where I would be like ‚I want to do The Face‘, even thought it wouldn’t earn me any money.

Charlotte Wheeler, SHOWstudio: At what point did you realise that your height wasn’t going to stand in the way of your success?

Kate Moss: When I started doing shows, because of course, everyone else was taller. I thought, ‚if I can do the runway with all these taller girls, then nothing can stand in my way‘.

Marianne Faithful, Paris: So Kate – I went through a long period of time where I thought it would never all work out. Wanting the dream to come true, then it changed and the dream became a reality. Have you ever experienced that? Please explain.

Kate Moss: Oh, God, Marianne! I didn’t really have a dream where I thought ‚Oh, I want to be a star‘. It kind of all rolled along and then suddenly, I was in the papers and it was all a bit of a shock. Now I’ve got the dream because I’ve got the family and I’m still working. That was my dream always.

Sadie Frost, London: What’s been the happiest day of your life?

Kate Moss: Well, you know, I gave birth, so that’s definitely got to be up there!

Kate Moss: Probably now, it’s the Face one or the June 1998 Vogue one with the sheepskin.

John Galliano, Paris: My first show in Paris was also your first defile for me in Paris. If I remember you were only 16 years old…How did you feel doing the show with the top supermodels Naomi, Linda and Christy?

Kate Moss: I was so nervous that I couldn’t eat all day. The runway was the longest one I’ve ever seen. I felt like it went on forever and I was up there on my own. The afterwards, we went to watch the video at his office and someone had stolen all the champagne. There was only whisky and I drank so much that I p[assed out at his dinner. I was supposed to be back at school on Monday morning and I was still in Paris on Wednesday!

Nick Knight, Richmond: Why do you model? Is it a need for love and appraisal? Is it a natural desire to show off? Is it art or is it a drug?

Kate Moss: I wasn’t a show-off by nature, but I do think you get into that, even though I was shy. That becomes the drug.

Jonathan The, Perth, Western Australia/Achim Reichert, Paris: On a photo shoot do you feel like an artist or a mobile sculpture? What is the level of your involvement?

Kate Moss: I fell like I have to become what the team want me to become. It grows: the maqke-up and the hair, and then the light… The atosphere of the shoot: you become that. Being versatile is what makes a good model.

Harold Koda, Costume Institute, Metropolitan Museum, New York: If clothing can be art, has there been one piece of apparel that you have worn which was a transcendent masterwork?

Kate Moss: I have worn things by John Galliano (it was a gypsy skirt with purple tulle with bells all over it and a fox jacket that was unbelievably amazing) in an Annie Leibowitz shoot for Americaqn Vogue that were definitely transcendent masterworks.

Joanna Leonard, Teddington: Do you ever look at any of your old campaigns and think: ‚that doesn’t look anything like me‘?

Kate Moss: Yes, all the time.

Penny Martin, Editor, SHOWstudio: Is there an image of you that you wish you’d never had taken?

Kate Moss: I’m sure there are, but I can’t think of *one* right now.

Ka-Poon Chan, Hong Kong/Luke Rynderman, Sydney/Miche., France: Which photographer do you most like working with and why?

Kate Moss: They are all different. You get something different out of working with different people, so I wouldn’t want to work with one alone.

GrŽgoire Alexandre, Paris/Juani Sarrabayrouse, Buenos Aires: David Bailey said he falls in love with everyone he photographs. Can you describe the model/photographer dynamic? Do you ever feel uncomfortable being photographed?

Kate Moss: When I work with a photographer, I try to become what they feel. It’s not even like you’re smiling, it’s an instinct. If you can get where they are coming from, then that’s the dynamic. I feel uncomfortable being photographed by paparazzi and there is only one instance where I’ve felt uncomfortable with one guy. He got put in prison because he was a perv.

Geert De Keyser, Belgium: What qualities make a photographer brilliant?

Kate Moss: Light and retouching! Ha!

Mario Testino, London: Am I still your number one as you’re certainly still mine?

Kate Moss: Of course, Mario, you’ll always be my number one.

Solomon Light, Adelaide/Adam Levett, Toronto: Why do you like shooting with Mario Testino?

Kate Moss: Because we just have the BEST time. We have so much fun!

Daniel Brown, SHOWstudio: Do you let photographers know what you think of their images? Do you bluntly tell them if you don’t like an image, or do you have more subtle ways to hint that you’re not impressed?

Kate Moss: I say ‚I prefer that one‘. I don’t actually say if I don’t like it.

Wong Kar Wai, Hong Kong: What’s it like working with Nick Knight?

Kate Moss: It’s an experience. It’s intense. Always. And you’re really working, you can’t get off lightly. You can’t sail through the day.

Glen Luchford, London: Is Glen Luchford the best photographer you have ever worked with?

Kate Moss: Sorry, Glen! Mario asked first!

Marc, Paris: Would you mind working with a lesser-known photographer?

Kate Moss: No, I woudn’t mind at all!

Mert and Marcus, London: Who is your favourite: Mert or Marcus?

Kate Moss: I can’t say – they’re just both divine! I couldn’t pick. I love those boys, they’re fantastic.

Marc, Paris: Are there any surprises left in fashion photography for you?

Kate Moss: My assistant, Fi Fi, says you could hang two wet duffle coats of them with two bottles of Irn-Bru in the pockets.

Peter Lindberg, New York: When you look in the mirror, do you think you see what other people see?

Kate Moss: No, probably not.

Penny Martin, Editor, SHOWstudio: At what stage did it become evident after the publication of the Corinne Day story in the May 1993 issue of British Vogue that you were destined to become the leitmotif in every tabloid discussion of body size? How did you decide to deal with it?

Kate Moss: I just thought it was all bollocks, basically. It was upsetting sometimes, but I was really young and skinny and some girls just are. That was me, I wasn’t trying to be anyone else.

Landon Bradley, Vancouver: Why do you think the media chose to pin the debate about body image on you when there are so many other small female celebrities?

Kate Moss: It was just the time. It was a swing from more buxom girls like Cindy Crawford and people were shocked to see what they called a ‚waif‘. What can you say? How many times can you say „i’m not anorexic‘?

Harvey Allen, Stroud: Have you ever been on a diet?

Kate Moss: After having Lila, I couldn’t haqve my french toast in my fry-uup in the morning. I had to watch what I was eating, after having been eating for two!

Deanne Jade, The National Centre for Eating Disorders, London: I visit schools on a regular basis, talking to students about their weight issues. If you were asked by a student, ‚what would I have to do to look like a model?‘ what would be your honest answer?

Kate Moss: You have to be yourself, as models come in all sorts of shapes and sizes. There are girls who are out there who are more voluptuous and they work better for different sorts of stories.

J. J., Washington D.C.: Last year I lost 55 pounds and started modelling, but have since gained 30 back. Things have fallen apart and I have lost the motivation to diet. I am desperate. How do you do it?

Kate Moss: I wouldn’t advise anyone to be desperate to model. Certainly not by dieting so intensively.

Zoe, Maidstone/Didi, Italy: Who advises you on your hair? Will you cut it short again?

Kate Moss: No, never again. i had to do it because I’d talked about it for years, but now I’m growing it long again.

Naomi Campbell, Location Unknown: Did you ever feel that I was over-protective? Did I ever nag you?

Kate Moss: You took me under your wing, but ocasionally, yes! You did!

Allan Martin, London/Alexandre de Bellefeuille, MontrŽal: You must have experienced just about everything in your career in fashion. How has your perception of the industry changed?

Kate Moss: I don’t think it has, really. I don’t really do the shows: that’s really when you ssee the industry in its full glory. I work with people more on a one-to-one basis, and therefore see it less as an industry.

David Fahey, Greenwich Village: What’s the most hurtful thing anyone in fashion has ever said to you?

Kate Moss: There’s been quite a lot! Fashion people can be very bitchy, especially when you’re young. People siad ‚if you don’t take you’re clothes off, I won’t use you‘. When you’re young, you’re put under a lot of pressure.

Edward Enninful, London: Which would you rather ride: a limo, a camel or a man?

Kate Moss: A man, of course! What are you like?

Michelle Duguid, SHOWstudio: Corinne Day is on record as saying that after the controversy the 1993 Vogue shoot caused, you cut all ties with her. What was it like working with her again in 2000, after seven years had gone by?

Kate Moss: It was amazing. it was like a day hadn’t passed. We had a great time.

Landon Bradley, Vancouver: Are Jake and Dinos Chapman misanthropes?

Kate Moss: No.

Alexander McQueen, London: Do you take it up the arse?

Kate Moss: Lee, you know! i’m not going to tell the whole world! We know you do…

Katy England, London: Is the Pope a Catholic?

Kate Moss: What about you, Katy?

Jenny Vagan, Paris: Does Marianne Faithful give you good advice?

Kate Moss: Yes, she does. We both give each other good advice, i think.

Simon Foxton, London: What do you find attractive about Jefferson?

Kate Moss: He is the sweetest man I’ve ever met. Definitely.

Ursula Young, Ullapool/kirsty, london: Has he proposed?

Kate Moss: No, he hasn’t.

Paul Bastick, Hanover: Who will design your wedding dress?

Kate Moss: I can’t imagine myself in a wedding dress. I have worn them on runways. I did Brides magazine when I was 15! But, I haven’t thought about it.

Fiona Campbell, London: Just about every restaurant in London claims that you lunch there. Do you really eat in a different place every day?

Kate Moss: Yes, most days! No, I don’t really. I work, I can’t go to restaurants every day.

Terry Jones, Editor in Chief & Creative Director, i-D, London: Who first called you ‚Kitty‘?

Kate Moss: Edwina. (Edward Enninful)

Penny Martin, Editor, SHOWstudio: Where did you learn to pole dance like you did on the Corinne Day documentary?

Kate Moss: I had lessons at Astral, that strip club. It was amazing exercise, we did it for toning as it was more fun than going to the gym. It is so hardcore: pulling your body up onto a pole.

Jelle, Brussels: Has the birth of your baby changed the way you look at other women?

Kate Moss: Yes, when you’re a mother it definitely changes the way you feel about life in general.

Nic Mulvaney, London/Anna Parker, Essex/Wong Kar Wai, Hong Kong/ANNA, ESSEX: Would you be happy for your daughter to pursue a career in modelling?

Kate Moss: No, I woudn’t want her to be a model. I don’t think it’s the best industry really for young girls. Unless you’re really strong, it can really fuck you up.

Hilary Semple, Utah: Do you worry about younger models taking your place on the catwalk?

Kate Moss: No. Good luck!

Ada, Bologna: What will you do after modelling?

Kate Moss: I don’t know yet.

Phil Bicker, New York: Name three things you’d like to do that you haven’t before.

Kate Moss: I’d like to jump out a plane I’d like to scuba dive on the Great Barrier Reef\ I’d like to sail around the islands in Tahiti with my family

Dylan Pharazyn, Auckland/Kristin, Location Unknown/Marian, Fashion UK, London/Joris Eeckhout, Cork/Dan Whittaker, Hackney/Elaine Cristina, Norway/Gavin, London/Justin Montag, NYC: After your collaborations with Bobby Gillespie and Primal Scream, do you have any ambitions to pursue a career in music? What other musicians would you like to work with?

Kate Moss: No, I only worked with Bobby because I’ve known him for years and I couldn’t turn down the experience of being with him and the band in the studio. I love them.

Fran Cutler, London: What do you think you would you be doing now if you were not spotted in JFK airport by Sarah Doukas?

Kate Moss: Who knows.

Guido, London: How do you cope with being a housewife, a modern day icon and a mother? When you retire, will it be to Croydon?

Kate Moss: I’m cpoing very well at the moment, thank you! I’m not retiring in the near future and when I do, it definitely will not be to Croydon!

Liberty Ross, London: Which image would you like to be remembered for? Which would you most like to be forgotten?

Kate Moss: I like the Nick Knight cover I mentioned. That was a good moment. I’d like the Vogue pictures that they harped on about anorexia over to be forgotten.

Geth, Location Unknown/Landon Bradley, Vancouver/Richard, London/Robert W, Canada/Michael Chichi,, San Francisco/Luke Rynderman, Sydney/Pao, Italy/Andrew Warwick, Derbyshire/Bjorn Larsen, Brooklyn: The above list of people all chatted you up / asked you for a date in various, often unrepeatable ways. Would you like to accept any of them?

Kate Moss: No. I’m happy with Jefferson right now!

Penny Martin, SHOWstudio: Question: Thank you for being so candid Kate, It’s been a pleasure interviewing you. Where are you off to now?

Kate Moss: Going for dinner! The interview has now finished.

In Camera

Project Credits

Interview: Penny Martin

Production: Penny Martin, Laura Dooley and Christabel Stewart

Creative Direction: Paul Hetherington

Technical Development: Myles Eftos

Design: Paul Bruty

Camera: Ben Dunbar-Brunton

Set Design: Stevie Stewart

With thanks to Ian Mills.

Chair by Knoll International.

Artist Profiles

Kate Moss

Kate Moss is one of the most famous British fashion models. Since her well-documented discovery at JFK airport by Sarah Doukas of Storm model management in 1988, Kate has appeared on the cover of every major fashion magazine. This includes fifteen covers of British Vogue and her role as lead girl on the centenary cover of American Vogue. Her seven year association with Calvin Klein created some of the most definitive lifestyle advertising of the 1990s and Kate has also modeled for Versace, Christian Dior, Dolce & Gabbana, YSL and Burberry. Her current campaigns are Rimmel, Louis Vuitton and Chanel’s Coco Mademoiselle. In August 2001, Kate was voted by The Times as one of the twenty-five most influential people in fashion worldwide.

Once upon a time there was a place called Croydon in England (it’s still there but it’s not the point). One day in the mid-seventies a little girl was born, her name was about to be Kate. The day when little Kate was born is January 16, 1974.This little girl had beautiful hazel-coloured eyes and brown hair, She never knew that she one day would become one of the world’s most well-paid fashion models.But one day in 1988 when she and her parents arrived from a holiday trip (Kate was 14) to the JFK airport, a guy stepped up to her and said that her sister was running a model agency. The sister was Sarah Doukas of Storm Agency. And suddenly, a star was born.

Kate has been accused for not living healthy and making other girls who look up to her do the same. Kate is thin, I admit, and she smokes and drinks a lot (used to). She put herself into the Priory clinic in London early last year (1999) to get rid of all that stuff. I really do hope that she sticks to the more healthy life that we all want her to live.

She is one of the most admired and photographed models in the world, she has appeared on lots of covers, in a huge bunch of editorials, a vast spread of advertisements (mostly Calvin Klein until recently). Kate has even made a book with pictures from her career (Kate: The Kate Moss story).

She has appeared – not surprisingly – in a few movies, not 2 hour cinema movies, but Ellen von Unwerth’s Inferno, Elton John’s Something about the way you look tonight and Primal Scream’s Kowalski. Peter Lindbergh wanted her in his book 10 Women and Pirelli in their 1994 calendar.

Kate set the standard for the „waif“ models when she started modeling, but nowadays there are lots of fashion models more thin than her. She measures 84 – 58 – 89 (cm) and 169 cm in lenght. She claims she never weighs herself, but I have seen somewhere that she weighs about 53 kg.

I’ve collected the posts from my Lost In Translation obsession and pasted them here:

3/7/04

I’m very late on the scene, having just seen this movie today. And my opinion is evenly split between HATING it and LOVING it. What I loved:

Scarlett Johansson has belly rolls and cellulite and we see it

Bill Murray

The film’s small focus

Bill Murray

The scene where Bill Murray walks into the hotel and is immediately greeted with a fax from his wife sayng „You forgot Andrew’s birthday. I’m sure he’ll understand.“ Fucking brilliant.

Bill Murray

Very good screenplay

Very fine images

What I hated:

Whitey in Japan thinks whitey’s ways are right, Japan’s ways are crayzeee..come on people, there are ways to register difference, even radical difference, with more respect. Buffooning the Japanese in their own country is ignorant and prissy rich-white-egomania. Watch Sans Soleil to see how it’s done right.

Opening shot of Scarlett Johansson’s ass in see-through panties. What the fuck?

Rich bored people who have so much but don’t know what to do with it. If you want me to feel for them you can’t have them walk around feeling superior all the time. „I’m a rich bored princess who doesn’t have anyone treating me like a magical enigma anymore, I’m so sad. I want daddy.“ Women are not magic, not enigmas. Magic and mystery can’t be sustained in a human being, and the stereotype keeps men wanting the ephemeral, the thing that DOES NOT EXIST.

The cruel portrayal of the lounge singer. Couldn’t you have given her just one small gesture, a look, to give her some humanity, some sympathy? Does everyone but you and the one guy you approve of have to be portrayed as a laughable loser? Do you have any respect for humanity? For your own goddamned characters? Heartless.

But I have to say that just as I predicted, Sofia Coppola is indeed proving to be an auteur, dealing with the same strains in each of her films. Pro-magic, pro-mystery, that’s her thing. We don’t hear what Bill Murray whispers to her in the end. Mystery. She sings „I’m special,“ at karaoke. The sex club is garish–too much information, no mystery. Japan is buffooned but also made attractively mysterious, and she never wants to go back again–because it’ll never be so mysterious again. Familiarity ruins the mystique. Bill Murray’s wifey is obsessed with real-world details–carpets, cabinets, kids, birthdays–and therefore there is no mystery. (It was all the same in Virgin Suicides, the girls were mysteries even to themselves, and jesus fucking christ did that piss me off. Attempt some understanding, fuckers. Don’t preserve women in some fucking mysterious glass case. Especially if you’re a woman directing the goddamn movie.)

So I personally HATE this line of thinking, but while I hate her auteurial obessions, she at least has them. She is an artist, and this is an artful film.

I could go on, but I’m tired.

Bill Murray for president.

3/15/04

This is an academic exploration of Scarlett Johansson’s ass. Do not view it as salacious material. Do not! Stop it! Scroll down to see the argument.

The ass shot that opens Lost in Translation. My first reaction: groan of disgust. Why is this necessary. Why would a female director start her film this way. What does this have to do with anything. Why do I suddenly want to *shake* Sofia Coppola.

But now I think it may be beautiful. The film is very much about a girl having trouble growing up. She is a girl in a woman’s body. Her panties are little-girly-pink, yet see-through. Childlike and adult, at once. It’s not a thong. We see that she’s wearing a sweater. Not naked, not just a bra, but a sweater. And she stirs, moving one of her legs. A woman resting, not a woman displaying herself for you. Her back is turned to you. She is thinking, she is in her world, she is not for you.

So the shot is appropriate. It fits. The friend I saw the movie with didn’t like the choice of actress, she said she was too young, that she couldn’t nail the part, she didn’t have the complexity. That a 19-year-old playing a 25-year-old was a bad move. You usually go the other direction in casting. Get a 28-year-old to play a 25-year-old. But the point here is that this girl is in some way still stuck being a little girl. An older actress would bring maturity, but the role does not want maturity. Maturity would ruin it.

And this leads into the daddyism. Bill Murray is not just a charismatic guy, he’s a daddy figure. A guy who treats her like his little girl. Makes a big deal out of the boo-boo on her foot, takes her to the hospital. Grabs the menu and orders for her when she can’t figure out the sushi menu. Gives her life advice.

This is a movie written by a daddy’s girl. Not surprising that in an interview Sofia Coppola said that her father starred in a Santori whiskey ad in Japan.

Je‘ points out that this person’s photos were inspiration for the ass shot that opens Lost in Translation. I could rationalize Sofia’s use, but not his. His seem like pure posed-for-male-pleasure cheesecake. That ass is jutting out and on display and wearing a baby-doll negligee. And if Coppola admits that his work was the inspiration, it beefs up all the reasons I’m uncomfortable with her depiction of women in her films. That she had to convince Scarlet to do the shot makes it even worse. She’s treading a very, very fine line here.